Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Greece and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1978.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Popol Vuh to the electroclash kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The United States of America. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Ornette Coleman,
Grandmaster Flash and the Furious Five,
Intrusion,
Accadde A,
Parry Music,
Dennis Brown,
Radiopuhelimet,
R.M.O.,
Whodini,
Goldenarms,
Don Cherry,
Oneida,
Kool Moe Dee,
The Royal Family And The Poor,
Maleditus Sound,
World's Most,
Porter Ricks,
David McCallum,
UT,
The Young Rascals,
the Bar-Kays,
the Slits,
Bizarre Inc.,
Mary Jane Girls,
The Saints,
the Fania All-Stars,
Clear Light,
Silicon Teens,
The Cramps,
Minor Threat,
The Shadows of Knight,
New Age Steppers,
Andrew Ashong & Theo Parrish,
The Smiths,
Television,
Black Flag,
Dead Boys,
Echospace,
Darondo,
Scott Walker,
Flamin' Groovies,
Slick Rick,
Interpol,
The Real Kids,
Rowland S Howard / Lydia Lunch,
The Flesh Eaters,
Minutemen,
Swell Maps,
Cheater Slicks,
Byron Stingily,
Johnny Osbourne,
Pussy Galore,
Freddie Wadling,
Kings Of Tomorrow,
the Soft Cell,
ABC,
Rakim,
Lungfish,
the Germs,
Isaac Hayes,
Q and Not U,
Faust, Faust, Faust, Faust.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.